第二十二條軍規(guī)

Catch-22byJosephHeller

BlackhumorinCatch-22

《第22條軍規(guī)》中旳黑色幽默BriefintroductiontotheauthorJosephHeller(May1,1923–December12,1999)Title:satiricalnovelist,shortstorywriter,playwrightEducationandexperience:graduatedformAbrahamLincolnHighSchoolin1941joinedtheTwelfthAirForceasabombardierreceivedM.A.fromColumbiaUniversityin1949Fulbrightscholar（富布賴特學(xué)者）atOxfordin1949-50teacheratPennsylvaniaStateUniversityin1950-52copywriterforthemagazinesTime(1952-56)copywriterforthemagazinesLook(1956-58)promotionmanagerforMcCall′s

teachfictionanddramaticwritingatYaleUniversityandtheUniversityofPennsylvaniain1961.LiteraryAchievementsNovel:Catch-22《第二十二條軍規(guī)》ClosingTime《終了時(shí)光》SomethingHappened《出了毛病》GodKnows《天曉得》Play:WeBombedinNewHaven《我們轟炸了紐黑文》

Summaryofthenovel:Thereare42chaptersandeverychaptertellsastoryofoneperson.ThenovelfollowsYossarian,aU.S.ArmyAirForcesB-25bombardier,andanumberofothercharacters.Mosteventsoccurwhiletheairmenofthefictional256thsquadronarebasedontheislandofPianosa,intheMediterraneanSeawestofItaly.DuringtheWWII,theprotagonistYossarianlivedinastrangeandunusualworld,whereeveryoneplacedthewarinthecenter.AsabombardierofanU.S.ArmyAirForces,hewascommittedtowaroutofjustice.Becauseofhisachievementsinwar,hewaspromotedtocaptain.However,afterhewitnessedalotofhypocritical,absurd,crazyandcruelphenomena,Yossarianbecamecynicalandantipathetictowar.Hewantedneithertobepromotednortocontribute.Hejustwantedtogohomeafterhiscompanionswerekilledoneafteranother.Sohedevisedmultiplestrategiestoavoidcombatmissions,butthemilitarybureaucracyisalwaysabletousethecatch-22tomakehimstay.Gradually,Yossariancametorealizethatcatch-22didnotactuallyexist,butbecausethepowersthatclaimeditdoes,andtheworldbelievesitdoes.Atlast,hehadtoescapetoSweden.故事發(fā)生在地中海旳一種小島上，第二次世界大戰(zhàn)末期，美軍旳一種飛行大隊(duì)駐扎在該島上。按一般要求，飛滿要求次數(shù)（最初為25次）旳飛行員能夠回國(guó)，但軍規(guī)實(shí)際上要求，不論何時(shí)，必須執(zhí)行司令官命令做旳事情。飛行大隊(duì)旳指揮官凱斯卡上校（卡思卡特上校）是個(gè)官迷，他一次一次增長(zhǎng)飛行任務(wù)，遠(yuǎn)遠(yuǎn)超出一般要求。飛行員們都得了恐驚癥，變得瘋瘋癲癲。尤其是投彈手尤塞恩（尤索林，約塞連）上尉，更是終日惶惶不可。在求生欲望旳支配下，他在戰(zhàn)斗中只想逃命。他裝病躲進(jìn)醫(yī)院，不久被密探和一種充斥“愛(ài)國(guó)熱情”旳傷兵嚇跑了。他找到一種軍醫(yī)幫忙，想讓他證明自己瘋了。軍醫(yī)告訴他，雖然按照所謂旳“第22條軍規(guī)”，瘋子能夠免于飛行，但同步又要求必須由本人提出申請(qǐng)，而假如本人一旦提出申請(qǐng)，便證明你并未變瘋，因?yàn)椤皩?duì)本身安全表達(dá)關(guān)注，乃是頭腦理性活動(dòng)旳成果”。這么，這條表面講究人道旳軍規(guī)就成了耍弄人旳圈套。當(dāng)飛行員們出生入死時(shí)，那些指揮官們卻忙于勾心斗角，還和神通廣大旳食堂伙食兵米洛構(gòu)成了一家聯(lián)營(yíng)企業(yè)M&M企業(yè)，大作投機(jī)生意，發(fā)戰(zhàn)爭(zhēng)財(cái)。尤塞恩目睹了這種種荒唐旳現(xiàn)實(shí)，最終在同伴們旳鼓勵(lì)下，他逃往中立國(guó)瑞典去了。TranslationofthenovelCHAPTER41SNOWDEN.docItisoneofthemostrepresentativegenresintheAmericanliteraturein1960s.Itwasusuallyusedinliterature,drama,andfilm,isakindofabsurdormorbid

humorretainingaserioustone.Thepurposeofblackhumoristoexpresstheabsurdity,insensitivity,paradox,andcrueltyofthemodernworld.Popularthemesofthegenreincludemurder,suicide,war,barbarism,drugabuse,terminalillness,domesticviolence,insanityandsoon.Besides,somecomediansuseitasatoolforexploringvulgarissues,thusprovokingdiscomfortandseriousthoughtaswellasamusementintheiraudience.BriefintroductiontoblackhumorTheBackgroundofCatch-22

AfterWWII,Americaexperiencedaperiodofunprecedentedeconomicboom.In1950s,Americabecamethebigbrotherofthecapitalismworld.TheColdWarbrokeoutbetweenAmericaandSovietUnion.Besides,exhaustingallresourcestobuildupAmericanmilitarypowerarousedtheanti-warsentiment.Undersuchpoliticalcircumstances,Catch-22cameouttoexpresstheauthor’sfeelingtoachaoticAmerica.TherearesocialfactorsforJosephHeller’sCatch-22.In1960s,populationexplosionanddeterioratedenvironmentpollutionmadepeoplefeelideologicalconfusion.Democracy,individualpursuitreligiousbeliefalldidnotexist.Blackhumorincatch-22Catch-22isoneofthetypicalrepresentativebooksofblackhumor.JosephHeller,theauthorofthisnoveldescribedmanyabsurdimagesinasymbolicway.Manywords,phrases,anddialoguesinthisnovelaredisorder,repeating,dubiousandparadoxical.Itisthewonderfuldeductionofblackhumor.AndIanalyzeblackhumorincatch-22throughconcretediscussingtheblackhumorinportrayingthecharacters,deepeningthetheme,arrangingthestructureandselectingthewordsandsentencesinthisfiction.ThewriterdirectlyexposeseveryrealaspectofAmericanbureaucracysocietyafterWWIIbydepictingthosepeopleinsingleofmultipledimensions.

Forexample:

Yossarian,atypicalanti-heroiccharacterofblackhumor,istheprotagonistinCatch-22.Yossarianhadalotofheroiccharacteristics,forinstance,hewasverysmartandknewtheworldliteratureverywell.ButmostofhisbehaviorsareregardedasimmoralandcowardHetriedmanywaystobeprovedthatheisainsanesothathecanbeexemptedfromflyinganymission.

ThecanteenMinderMiloisacalculatingentrepreneur.Heengagedinspeculationinthenameoffoodpurchasing.Heevenestablishedamultinationalcorporationinthisway.Hesmuggledgoodsthroughplanesandevenemployedtheenemy’splanestotransportforhiscompany.Whatwasmoreridiculousisthathebombedhisownairfieldwhentheenemy-Germansofferedhimmoreprofit.However,suchacapitalistwhoignoredthesoldiers’lives,becameaninternationalcelebrity.TheCharactersinthisNovelTheThemeofthisNovelThemainthemeistoexposetheabsolutepowerofbureaucratism.ThemostfrighteningandmiserablethinginCatch-22isthatYossarianandhiscolleagues’liveswerenotdecidedbythemselvesindangerbutbythosesavageandterrifyingbureaucrats.Catch-22isthetypicalsymbolofbureaucratism.Hellersatirizesmilitarybureaucracywithbitter,stinghumor,allthewhiletellingthedarklycomicstoryofYossarian,abombardierwhorefusedtodie.AccordingtotheCatch-22,thesoldiersmustrisktheirlivestoobeytheordersinspiteofknowingthegoalwasmeaninglessordangerous.Attheendofthisnovel,thesoldierswerestillorderedtokeepfinishingtheirmissionsalthoughtheyhadknowntheirallieshavewonthewar.Thesoldiersdidtrytheireffortstoexpresstheiranger,butthebureaucratsjustneglecttheirvoices.Thedevelopmentofthenovelcanbesplitintomultiplesegments.Thefirst(chapters1–11)broadlyfollowsthestoryfragmentedbetweencharacters,butinasinglechronologicaltimein1943.Thesecond(chapters12–20)flashesbacktofocusprimarilyonthe"GreatBigSiegeofBologna"beforeonceagainjumpingtothechronological"present"of1943inthethirdpart(chapter21–25).Thefourth(chapters26–28)flashesbacktotheoriginsandgrowthofMilo’ssyndicate.Thefifthpart(chapter28–32)returningagaintothenarrative"present"butkeepingtothesametoneofthepreviousfour.Inthesixthandfinalpart(chapter32on)whileremaininginthe"present"timethenoveltakesamuchdarkerturnandspendstheremainingchaptersfocusingontheseriousandbrutalnatureofwarandlifeingeneral.Whilethepreviousfivepartsdevelopthenovelinthepresentandbyuseofflashbacks,itisinchapters32–41ofthesixthandfinalpartwherethenovelsignificantlydarkens.TheStructureofthisNovelTheLanguageFeatureofthisNov